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Poster: Incornsyucopia Date: Jul 13, 2013 10:41am
Forum: GratefulDead Subject: Re: why does ChinCat/ Rider work so well

Midnightcarousel,

Great explanation. For the most part I don't think I could have explained it better. The one thing I would add is the final harmonic movement, up a fifth (or down a fourth), within Jam #2 from E major to B major that mirrors what took the song from the G major of the verses to the D major of the jams. After the previous whole-tone modulation up from D to E, the repeat of this modulation further accustoms our ears to this fifth/fourth harmonic movement, helping to preparing us for the stability of the final shift to D major that takes us into IKYR.

One thing that I've never seen anyone discuss about IKYR, about which I'm curious what other people think, is that the versions of it by Phil & Friends from at least 2001 (4-24 for example) through 2004 (12-18 one of the last), the primary progression is just D major to C major, whereas with the Dead, and Phil's groups since 2005 (5-13 for example), it's D major, C major, G major. I really wonder why Phil decided to drop the last chord. To me it doesn't work as well; I miss the G major. Part of it is undoubtedly that it's what I'm used to, but I think it also works because its a reminder of where we started in CCS. Any thoughts? Which do you prefer?

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Poster: midnightcarousel Date: Jul 13, 2013 12:40pm
Forum: GratefulDead Subject: Re: why does ChinCat/ Rider work so well

Agreed. IKYR needs that G major chord, it's infuriating to hear it without it!

Another mistake is Furthur's take on Playing In The Band. When GD play it, they shift from D major to D minor for the jam section, but Furthur stays in D major, which sound horribly bland in comparison.

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Poster: Incornsyucopia Date: Jul 13, 2013 12:46pm
Forum: GratefulDead Subject: Re: why does ChinCat/ Rider work so well

Yeah, it really makes me wonder what the motivation for dropping the G major was. And the fact that Phil brought it back in 2005 is really curious. Perhaps he thought he'd try to change the song up a bit? But I definitely don't think it works as well.

As for the presence or lack of the shift to D minor in the jam of PITB, it depends on when. During the Keith years they always shift immediately to D minor to begin the jam; however, with Brent, including the very first version with him on 5/3/79, they stay on D major at the beginning of the jam and then slowly transition to D minor. I don't know a lot of Furthur versions, but I just re-listened to a show I was at 11/11/2011 in Syracuse and that's what they do there: in D major at the start of the jam but slowly move to the parallel minor, which makes a nice transition into the Beatles' "I Want You (She's So Heavy." I really enjoyed its unexpected appearance at the time, and still do, but on the recording really you can really hear how out of tune Bob's vocals are. Yikes.